אקלקטי - לַקטָני, נאסף ממקורות שונים, נלקח מכאן ומשם.

אידיוסינקרטי - An idiosyncrasy is an unusual feature of a person. The term is often used to express eccentricity or peculiarity.The term idiosyncrasy originates from Greek ἰδιοσυγκρασία [idiosynkrasía], "a peculiar temperament", "habit of body" (ἴδιος, [idios] "one's own", σύν, [syn] "with" and κρᾶσις [krasis] "mixture").

Now somewhere in the black mining hills of Dakota There lived a young boy named Rocky Raccoon And one day his woman ran off with another guy Hit young Rocky in the eye Rocky didn't like that He said I'm gonna get that boy So one day he walked into town Booked himself a room in the local saloon.

Rocky Raccoon checked into his room Only to find Gideon's bible Rocky had come equipped with a gun To shoot off the legs of his rival His rival it seems had broken his dreams By stealing the girl of his fancy. Her name was Magil and she called herself Lil But everyone knew her as Nancy. Now she and her man who called himself Dan Were in the next room at the hoedown Rocky burst in and grinning a grin He said Danny boy this is a showdown But Daniel was hot-he drew first and shot And Rocky collapsed in the corner.

The doctor came in stinking of gin And proceeded to lie on the table He said Rocky you met your match And Rocky said, Doc it's only a scratch And I'll be better I'll be better doc as soon as I am able.

Now Rocky Raccoon he fell back in his room Only to find Gideon's bible Gideon checked out and he left it no doubt To help with good Rocky's revival.

Composition

The song, titled from the character's name, was originally "Rocky Sassoon", but McCartney changed it to Rocky Raccoon because he thought "it sounded more like a cowboy."[1] The Old West-style honky-tonk piano was played by producer George Martin.[2] The lyrics describe a conflict over a love triangle.

During Take 8 of the song (featured on "The Beatles Anthology 3"), Paul McCartney flubbed the line "stinking of gin," singing "sminking" instead. This caused him to laugh, exclaim "Sminking?!?", and make up the remaining lines in the song. In this take, McCartney sings that Rocky is from "a small town in Minnesota," rather than "North Dakota," as he sings it in the album version.

In Mojo magazine in October, 2008, McCartney acknowledged that the style of the song is a pastiche, saying, "I was basically spoofing the folksinger." Lennon attributed the song to Paul, saying "Couldn't you guess? Would I have gone to all that trouble about Gideon's Bible and all that stuff?"[3]

Pastiche

From Wikipedia, the free encyclopedia

A pastiche is a literary or other artistic genre that is a "hodge-podge" or an imitation. The word is also a linguistic term used to describe an early stage in the development of a pidgin language.

Hodge-podge

In this usage, a work is called pastiche if it is cobbled together in imitation of several original works. As the Oxford English Dictionary puts it, a pastiche in this sense is "a medley of various ingredients; a hotchpotch, farrago, jumble." This meaning accords with etymology: pastiche is the French version of the greco-Roman dish pastitsio or pasticcio, which designated a kind of pie made of many different ingredients.

Some works of art are pastiche in both senses of the term; for example, the David Lodge novel and the Star Wars series mentioned below appreciatively imitate work from multiple sources.

Mass (music)

A pastiche mass is a mass where the constituent movements are from different Mass settings.

Pastiche is also found in non-literary works, including art and music. For instance, Charles Rosen has characterized Mozart's various works in imitation of Baroque style as pastiche, and Edvard Grieg's Holberg Suite was written as a conscious homage to the music of an earlier age. Perhaps one of the best examples of pastiche in modern music is the that of George Rochberg, who used the technique in his String Quartet No. 3 of 1972 and Music for the Magic Theater. Rochberg turned to pastiche from serialism after the death of his son in 1963.

"Bohemian Rhapsody" by Queen is unusual as it is a pastiche in both senses of the word, as there are many distinct styles imitated in the song, all 'hodge-podged' together to create one piece of music.

The films of Quentin Tarantino are often described as pastiches, as they often pay tribute to (or imitate) pulp novels, blaxploitation and/or Chinese kung fu films, though some say his films are more of an homage. The same definition is said to apply to the video games of Hideo Kojima as well, since they adopt many conventions of action films.

Well-known academic Fredric Jameson has a somewhat more critical view of pastiche, describing it as "blank parody" (Jameson, 1991), especially with reference to the postmodern parodic practices of self-reflexivity and intertextuality. By this is meant that rather than being a jocular but still respectful imitation of another style, pastiche in the postmodern era has become a "dead language", without any political or historical content, and so has also become unable to satirize in any effective way. Whereas pastiche used to be a humorous literary style, it has, in postmodernism, become "devoid of laughter" (Jameson, 1991).

In urban planning, a pastiche is used to refer to neighborhoods as imitations of building styles as conceived by major planners. Many post-war European neighborhoods can in this way be described as pastiches from planners like Le Corbusier or Ebenezer Howard. Alain de Botton describes pastiche as "an unconvincing reproduction of the styles of the past."[5]

Postmodern art, media and literature can be characterized by intertextuality as the narrative mode, and the postmodern period can be characterized by the death of the grand narratives as proclaimed by Jean-François Lyotard in The Postmodern Condition: A Report on Knowledge (1979). The grand narratives such as religions, ideologies and the enlightenment project have been substituted by the small, local narratives, e.g. love of one’s family. Pastiche is intertextual in its very form as it is a recreation of an earlier text. In the postmodern pastiche the older text (the hypotext) may reflect one of the bygone grand narratives, yet its new postmodern version may reflect a local narrative, so that the two enter into a dialogue in the pastiche. This is for instance the case with Francis Glebas’ "Pomp and Circumstance"- the seventh segment in Fantasia 2000 from 1999, in which the grand religious narrative of the Deluge is merged with the local narrative of personal love, personified in Donald Duck and Daisy. Though the grand narratives may be dead as ontological frames, they can here in the pastiche narrative regain some of their ontological strength when the local narratives are confronted by them in this narrative way.

General Points of Interest

Style and Form

This light-heartedly delivered number about the very serious subject of an almost fatal romantic showdown finds Paulie dressed up again in something ordered from the costume party store; this time, it's a getup from the Wild, Wild American West.

Compositionally, the song is a clever triumph of formal articulation over rote monothematicism by virtue of controlled, subtle variation in a number of departments. That's an excessively highfalutin way of saying, gee, the whole three and a half minute track is played out over the same unvarying eight-bar chord progression, and yet, rather than sounding painfully monotonous, it creates the impression of a something developed with the full formal scale and variety you typically expect from a "song"!

The secret is in the handling of the vocal style, lyrics, and instrumentation. And it bears some comparison with the way Messrs. Berry and Penniman (et al) know how to create a high-level form out of what is otherwise an unvarying series of twelve-bar frames.

Melody and Harmony

The tune stays closely within a pentatonic scale (G - A - C - D - E) for the most part, ignoring for the moment the constant chromatic filling out of the downward sweep from E to C. If you bother to trace it carefully, you'll find that the places in the melody where either of the notes B or F occur are few and far between; you might even say they are strategically chosen: look to the half-spoken first verse and the two scat-sung choruses.

The harmonic content of the song consists of a simple chord progression repeated seventeen (count 'em, seventeen!) times in a loop:

Note the descending chromatic scale fragment running through this progression in an inner voice; you can hear this most clearly when the backing voices show up late in the song.

The bassline descends to B in the eighth measure, and I adjure you to "hear it" as a simple passing note under a sustained C-Major chord, rather than an event that causes the harmony to "progress" from C to e minor in the 6/4 (second) inversion.

Arrangement

An acoustic guitar, simply strummed, runs throughout the piece. It is supplemented at times by combinations of drum kit (sparingly), bass guitar, tack piano, harmonica, and backing vocals. I think I even hear a concertina or accordion in the last third of the track, but perhaps that's just still more harmonica.

Supporting instruments are progressively added and subtracted in the service of articulating form and and a sense of forward progress.

Section-by-Section Walkthrough

Intro

The opening section of four measures of just acoustic guitar strumming is nicely atmospheric, yet the a-minor seventh choice of chord is tonally ambiguous.

Assorted Verses and Refrains

Watch how Paul sculpts something approaching traditional song form out of his seventeen looped iterations, especially impressive when you consider that the ballad-level "story" is told almost continuously, throughout:

Call the first two loops an extension of the intro, or perhaps and "easing ones way" into the song, proper. In contrast to the rest of the song, this pair is half sung with the words declaimed against the underlying beat, Paul's ol' Western accent is comically exaggerated, and the rhyme scheme tentative, at best.

1. Somewhere ...

2. ...eye. Rocky didn't like that ...

The next pair could be called a verse section, but I'm going to take the liberty of labeling it "refrain A" because of the way in which the title phrase appears on the downbeat of the section, and the way in which the same gesture reappears much later in the song. The first line of each couplet contains its own internal rhyme ("Raccoon" and "room"; "come" and "gun"), but the pair of them is held together by the rhyme created by the end of each couplet ("Bible" and "rival"). Paul's singing now with his full voice, and the addition of the harmonica help set this off from what preceded.

3. Rocky Raccoon checked into his room ...

4. Rocky had come ...

Next is a "plain" verse, with the story continued, and the rhyming scheme just like the previous one. Add cymbals and bass guitar to the backing track.

5. His rival it seems ...

6. Her name was Magill ...

Followed by another "plain" verse, with the same rhyming scheme again. Now add some drums.

7. Now she and her man ...

8. A - Rocky burst in ...

The climax (and exact midpoint) of the song includes only a single loop iteration; the only place like this in the whole track!

9. But Daniel was hot ...

"Refrain B" shifts to scat singing in the lyrics and adds the piano to the backing track. We're back in the paired loop business. The tempo remains constant, but the shift here to an oompah polka beat sets this section off from the rest of the song.

10. Da da da da da ...

11. Do do do do do ...

The next verse returns to the earlier rhyming scheme and strumming beat, and it drops the piano from the backing track. Do we also have a return of the harmonica, or is this a new part for concertina or the like?

12. Now the doctor came in ...

13. He said, Rocky you met your match ...

Let's call the next section the return of "refrain A". True, the story continues here, but the echo of the title phrase on the downbeat in combination with another reference to a certain edition of the Holy Bible usually found in hotel rooms resonates strongly, don't you think? Note the unique application here of the backing vocals.

14. Rocky Raccoon, he fell back in his room ...

15. Gideon checked out ...

And of course, we complete the song with a reiteration of the scat sung "refrain B".

16. Da da da da da ...

17. Do do do do do ...

Outro

Just where an eigthteenth iteration of the loop might begin, the song ends with an implied four measures of the C-Major (I) chord sustained, a sort of balancing out the four-measure intro.

Style and Form

This light-heartedly delivered number about the very serious subject of an almost fatal romantic showdown finds Paulie dressed up again in something ordered from the costume party store; this time, it's a getup from the Wild, Wild American West.

Compositionally, the song is a clever triumph of formal articulation over rote monothematicism by virtue of controlled, subtle variation in a number of departments. That's an excessively highfalutin way of saying, gee, the whole three and a half minute track is played out over the same unvarying eight-bar chord progression, and yet, rather than sounding painfully monotonous, it creates the impression of a something developed with the full formal scale and variety you typically expect from a "song"!

The secret is in the handling of the vocal style, lyrics, and instrumentation. And it bears some comparison with the way Messrs. Berry and Penniman (et al) know how to create a high-level form out of what is otherwise an unvarying series of twelve-bar frames.

Arrangement

An acoustic guitar, simply strummed, runs throughout the piece. It is supplemented at times by combinations of drum kit (sparingly), bass guitar, tack piano, harmonica, and backing vocals. I think I even hear a concertina or accordion in the last third of the track, but perhaps that's just still more harmonica.

Supporting instruments are progressively added and subtracted in the service of articulating form and and a sense of forward progress.

Assorted Verses and Refrains

Watch how Paul sculpts something approaching traditional song form out of his seventeen looped iterations, especially impressive when you consider that the ballad-level "story" is told almost continuously, throughout:

In contrast to the rest of the song, this pair is half sung with the words declaimed against the underlying beat, Paul's ol' Western accent is comically exaggerated, and the rhyme scheme tentative, at best.